#hip hop scen

[whatsonmedia]

Best Offers Of This Week!

Looking for some pinch-worthy deals? WhatsOn has curated some of the best wallet-friendly offers of the week in lifestyle, food, health and wellness, and other genres. From 2-for-1 cocktails to half-price massages, you're sure to find something to splurge on without breaking the bank. So what are you waiting for? Check out our best offers of the week and start saving today! And many more! Visit WhatsOn.com for more information and to book your deals. The Cottons Club's two-course, bottomless Rum Punch and Live Music menu costs £28. Join Tropicana Nights at The Cottons Club, Shoreditch. Enjoy an hour of rum punch or Prosecco, along with modern Caribbean cuisine. Feast on Jerk chicken skewers, Ital Garden Spring Rolls, and a trio of fritters. Live RNB, Soul music, and guest DJs make it a perfect Friday night with friends or partners. Highlights - Live performances by regional bands and visiting DJs - 60 minutes of endless Prosecco or Rum Punch from 6:30 to 7:30 p.m. - A two-course lunch with a Caribbean theme Just £28 Battersea Park in Concert tickets are only £20. Join us at Battersea Park for an unforgettable August bank holiday! Experience Battersea Park in Concert, featuring classical, jazz, and soul acts. On Sunday 27th, the Royal Philharmonic Concert Orchestra presents "Proms in the Park" with a dazzling fireworks finale. On Monday 28th, enjoy contemporary jazz and soul talent like Gabrielle and YolanDa Brown. Don't miss this perfect way to end your summer! Highlights - Two live performances are available in Battersea Park, featuring artists like Gabrielle and the Royal Philharmonic Concert Orchestra. - Tickets start at only £20. Time and place: In London's Battersea Park, on 27 - 28, August £19 BYOB Cook and Craft Collective's chocolate truffle-making Indulge your chocoholic cravings with a sweet deal! Join Cook and Craft Collective's founder, Jojo, in Clapham for a Willy Wonka-esque chocolate truffle-making experience. Whip up decadent truffles with provided ingredients, make ganache centers, coat in chocolate, and add delightful decorations. Bring your best mates and BYOB for a dreamy and indulgent time. Create your own tasty treats to take home! Highlights - Make your own delicious chocolates. - Own your own alcohol - In a laid-back Clapham shop You must know - Voucher for BYOB chocolate truffle making at Cook and Craft Collective. - Valid for selected option, Mon-Sun: 11 am, 2 pm, or 7 pm. - Redeem at [email protected]  with booking confirmation, preferred date, and clear voucher details. - Please present the voucher on arrival. - Voucher valid until 30 Nov 2023. Enjoy! For £40, you can have bottomless prosecco and a three-course Disco Burlesque brunch. Get ready for a raucous disco burlesque fusion at Hip Hop Brunch LDN! Enjoy a Studio 54-themed day party with hot cabaret acts, bottomless Prosecco, a two-course meal, and live performers. Drag acts, fire breathers, cabaret dancers, and a lip sync competition await, with award-winning hosts and DJs playing disco and cabaret anthems. Disco, dance, and debauchery guaranteed! Highlights - Unlimited Prosecco for one hour - a three-course delectable feast - there will also be cabaret dancers, fire breathers, and more classic disco, house, and funk songs Time and place: 22 July, 9 September, 21 October, and 18 November at various undiscovered sites in London (12 p.m. to 5 p.m.; Party ticket entrance begins at 2 p.m.). Choose the date you want from the drop-down menu. Highlights include bottomless beverages and a hip hop brunch with two courses for £30. Experience the award-winning Hip Hop Brunch! Groove to back-to-back hip-hop anthems, RNB, afrobeats, and dancehall hits. Enjoy a 5-hour feast of entertainment with Magic Circle Magicians, dancers, beatboxers, and hip-hop karaoke. Indulge in a mouth-watering two-course meal and an hour of bottomless cocktails. Get ready for non-stop immersive fun and the best of London's Hip Hop club scene! Highlights - Discover the spirit of the culture that shaped a generation. - A two-course meal and an hour of limitless cocktails are included. - 5 hours of immersive music and entertainment - For £10, you can purchase party tickets if all you want to do is dance. https://youtu.be/bwuGgg6K90Y Time and place: 2023, July 22, August 5, 12, 19, 26, September 2, 9, 16, and 30 at various unidentified places in London (12 p.m. to 5 p.m., Party Ticket admission from 2 p.m.). From the dropdown option, pick the time that works best for you. Read the full article

[aftereffectsprojects]

Lyric Video // Hip-Hop Typography Motion Design from Antony Parker on Vimeo.

✔️ Download here: templatesbravo.com/vh/item/lyric-video-hiphop-typography/34448035

Lyrics Music Video. Brutalism Titles. Music Typography. Aggressive and super dynamic text animation. For lovers of hip-hop culture. Make a lyric video for your favorite track. Surprise your audience with a cool video. Adobe Premiere Pro template in Good Old Grunge style to help you.

Project features:

36 Pre-Made Text scenes (can use as many as you want) 25 Pre-Made Image scenes (can use as many as you want) 22 brush graphic elements Adobe Premiere Pro CC21 [information on project page] Full HD Resolution No Plugins Required Video tutorial included Full color control Easy edit Super Fast Render

Credits:

Great sound track “Hard Trap & Sport Beat With Vocal” by BrainMire Video used in preview: “Pexels” Font: Heading Now

After Effects version

TEXT SCEN

[213hiphopworldnews]

Female Rappers Are Taking Over Hip-Hop, But Deep Rooted Misogyny Is Still Prevailing

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There are more popular women with successful rap careers than ever before. Artists like Cardi B, Rico Nasty, Noname, Tierra Whack, and many more are leaving limiting terms like “femcee” in the dust. Gender be damned, they’re a breath of fresh air for the rap game. The bad news is that people who are conditioned to think mainstream hip-hop should always be a boys club with token “first ladies” are demonstrating every day that they don’t know how to compute the circumstance. Too many straight men have short-circuited to the point where Meghan The Stallion’s twerking is criticized as too sexual, but an openly queer female rapper Young MA is being sexualized.

Cardi B can’t breathe without being pitted against Nicki Minaj or a traditionalist favorite MC such as Rapsody; men complain about female artists who “sell” sex, but ignore that male lust is why “sex sells.” Respectability politics, sexual entitlement and men’s overall compulsion to control women’s status in the world are a drain on this powerful, long overdue moment of female empowerment in hip-hop. Rap is supposed to embody creative freedom, yet so many of today’s biggest female stars are subject to restrictive criticisms by minute thinkers.

Healthy competition, a bit of tension, and comparative debate are undoubtedly part of the bedrock of hip-hop culture. Rappers need a chip on their shoulder and barbershops need debate fodder. But when it comes to discussing women who rap, too many men’s talking points rest on weak premises because of their bizarre compulsion to police and sexualize women. They don’t even know how to let women in their everyday life just be which means that women artists who perform in the rap arena of marketing, sensation, and hyperbole — just like their male counterparts — often stand no chance.

Last year, we saw Cardi B and Nicki Minaj continuously pitted against each other, to the point where they ended up having a physical altercation. While Nicki has always carried a healthy bit of adversarial energy, it’s possible that she could have eventually spoken to Cardi and come to an amicable understanding — if not for the sensational hip-hop media and their fanbases clashing against each other because they’re so used to only one woman being on top in the rap world at a time. Even if both women had the other in their crosshairs from the moment Cardi stepped on the scene, it’s worth wondering how much mainstream rap’s tokenism had to do with their tension.

Nowadays, women who rap have to live out a binary in relation to their peers. They have to be overly vocal about their solidarity with other women or inadvertently foster a perception of “cattiness” and strife, which bloodthirsty rap fans will pick at until it actually manifests. It isn’t fair to those artists. Being friendly is great, but it’s not mandatory. 50 Cent has said “f*ck everybody” from day one, and he’s beloved because of it. On the flip side, many women in the industry get pressured into feeling like they have to behave a certain way.

Recently, a Twitter account went viral asking others to “name one female rapper who doesn’t rap about her pussy… besides Rico Nasty.” The account appears to belong to a woman, but the implication that rapping about pussy is somehow a knock is a quintessentially patriarchal construct. Many users replied to their tweet noting the number of men who rap about their dicks. One of conscious rap’s brightest beacons, Kendrick Lamar, has an infamous line right in that wheelhouse: “Girl, I know you want this dick.” Common is regarded as a mature, even grandparent-friendly artist, but he once rapped, “get up on this conscious dick.” Immortal Technique’s catalog is 90% anti-establishment musings, but even he managed to sneak in a ”what you think, revolutionaries don’t like to f*ck too?”

Nearly every male artist has gone there, and few listeners ever bat an eye… because men have the freedom to gloat about their sexual conquests. They’re outright socialized to have a phallic obsession that’s reflected in hip-hop. Beyond explicitly sexual references, how many variations of “life’s a b*tch and I f*cked her” lines are there to affirm a man’s status as “resilient”? How many rappers have historically demeaned their enemies by trying to emasculate them with lines like Snoop Dogg’s “I’m hollering 187 with my dick in your mouth?” Men have forever talked about their genitals as weapons and, ahem, extensions of themselves, which naturally means that vaginas are deemed mere apparatus in their own hypermasculine-driven self-mythology — and anyone with a vagina is subservient fodder in the orbit of male entitlement.

When rappers like Lil Kim, Trina, and Nicki Minaj, and now Cardi B, Meghan Thee Stallion and City Girls, pop up to subvert that circumstance and voice their own control over their sexuality, it upsets the patriarchical status quo. The internet has given more women than ever the opportunity to sidestep being seen only as some male artist’s token “first lady” and come up on their own, becoming independent artists in every sense of the term. A movement of women transforming sex in hip-hop from a voiceless rite of male ego-stroking into an unapologetic circumstance where women have volition threatens the neat, respectability politic-filled habitat of phallic culture where men are the overlords of sex and decide all the terms. When male consumers see everyday women empowered by these records, it becomes a resentful circumstance for those who wrongly assume that women’s empowerment should make men feel weak. (Here’s looking at you, Kanye).

That resentment is at the heart of petty jabs, baseless comparisons and criticisms of upcoming female rappers like Meghan The Stallion and others. Yes, the emerging Houston rapper can twerk, but she also came up off freestyles just like your favorite (male) lyricist did. She actually embodies Houston culture in that regard. But even if she had garnered a record deal from nothing more than being a viral twerker who made a couple of songs, who would have been the main demographic that made her famous? Who would have been thirsting in the comments and sharing her videos? Men have historically controlled the who, what, where and why of hip-hop marketing, but are hiding their culpability in the circumstance.

As much as people evoke Lauryn Hill or Missy Elliott (who was very sexual in her own right) as some standardized idea of what women rappers should be, these two women represent an extremely lofty standard for any artist to reach. Missy is in the Songwriter’s Hall Of Fame, and Lauryn Hill is also a generationally gifted artist. They broke through because they were exceptionally talented. And as much as men pretend that they’re a standard, they’re the exceptions that prove the rule. An overwhelming majority of the other mainstream female rappers of the past 20+ years have had their sexuality marketed as the forefront of their visual aesthetic. While there’s nothing inherently wrong with that, it’s also not a coincidence that labels know marketing these artists in that way will garner male attention and fulfill patriarchal beauty standards.

As Rico Nasty rapped on Amine’s “Sugarparents,” many women rappers know what male consumers want from them, so they’re going to give it to them on their terms to further their own agenda:

Sex sells, spend it on my retail You gotta pay attention to the details Always money when I check my email Hotel by the seashore, got plenty seashells

I wonder how many female artists are counting their seashells from men who are pretending they don’t like water. Men who are complaining about the prevalence of scantily clad rappers and pretending that they want a cadre of hoodied, sweater-wearing gospel rappers are either suffering from serious cognitive dissonance or being disingenuous. And morally self-righteous fans who truly do want women artists to be docile and not evoke their feminity are not as noble as they likely believe themselves to be.

Men are used to figuratively having their cake and eating it too. They’re conditioned to seeing voiceless “video vixens” in music videos, acting as props in a male artist’s self-mythology. But when that imagery is presented from a movement of female artists doing it strategically while telling men they have no chance with them, it becomes a problem. Maybe more men, through a veil of tears, will use their angst about women rappers as a vessel to reconsider their perception of women and gender roles in the first place. If objectification and misogyny weren’t predominant themes of hip-hop — and society at large — perhaps people wouldn’t be so excited about hearing those dynamics flipped.

Something has to change because when the perception of ownership over women goes past inane tweets, it can go into dangerous depths like Kodak Black, battle rapper Daylyt and others assuming it’s ok or funny for them to sexualize the lesbian, androgynous Young MA. From everything Young MA has presented the public since “OOOUUU” blew in 2016, she seems about as romantically interested in men as men are in evaluating a woman rapper beyond sexualization — meaning she’s not interested at all. She gleefully raps about womanizing and getting deep throated. She “pauses” lines that insinuate her giving a man “brain,” a flip of men’s homophobic usage of the term “pause” when they’re fearful that a comment might be interpreted as implicating themselves in sexually desiring other men. Yet, despite Young MA’s lyrical content, men have seen fit to make errant comments about how they feel about her sexually. Sometimes it’s men on Twitter being simple. Others, it’s professional trolls like Daylyt on VladTV, who said he wanted to marry Young MA and have her kids, then went on an attention-seeking run of posting photoshopped pictures of them “together.”

Other times it’s in songs, like the recently released “Pimpin Ain’t Eazy,” where Kodak Black uses a slur for lesbian women multiple times and also rhymed, “I’m f*ckin’ Young M.A, long as she got a coochie.” Young MA responded on Instagram Live, calling Kodak “weird” and deriding the social mediasphere that thought the line was funny. Kodak, who has a pending rape case, then replied on Instagram Live by asking, “how you a girl and don’t want your pussy penetrated,” which glaringly strikes the bullseye of male entitlement and rape culture.

The idea that even a woman with literally no interest in men is fair game for a male rapper’s vocalized sexual musings is outright bizarre. Some people may have thought that the line was humorous, but it gets more dangerous than that. So-called “corrective rape,” where lesbians are assaulted by men is a thing. It’s prevalent in South Africa but also in the United States, where homophobes believe that your sexual identity can literally be “sexed” out of you.

Kodak already has an open case for rape in South Carolina, and his recent comments may incriminate him when they’re inevitably played for the jury. There’s no place in rap for his comments, which are blatant harassment and disrespectful of not just Young MA but everyone in the LGBTQia community. The pathway for Kodak — or anyone else — to vocalize that thought is based on men’s erroneous belief that they have a right to dictate how women present or conducts themselves, in rap or outside of it. At “best” it’s annoying and illustrates textbook misogyny, but at worst it’s a hint at a dangerous level of entitlement. Either way, as Kodak has shown, men who can’t state opinions about women rappers based outside of a sexual context are best off just shutting up about them altogether.

source https://uproxx.com/hiphop/female-rappers-misogyny-patriarchical-standards/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[joyfulunion]

Barry Manalog, Luther Andross, Ill Collins - Places On Tape Volume One

Barry Manalog, Luther Andross and Ill Collins’ latest album ‘Places On Tape Volume One’ is out now on Certain Sound Records.

Purchase Cassette: Barry Manalog, Luther Andross, Ill Collins - Places On Tape Volume One

#barry manalog #luther andross #ill collins #certain sound records #hip hop #boom bap #beat scen #beat tape #cassette #cassette culture #cassette blog #joyful union #joyful union cassette blog #uk

[minkillah]

hello everyone!! my name’s lua, my pronouns are she/her and i’m a resident of gmt+1. i’m super excited for this group to get rolling so i can write with you all. i play choi minki (kim taehyung) of lotto fame. if you’re interested in interacting with him just ♡ this post and i’ll give you all of my love.

born and raised in busan’s gamcheon village, south korea, the former underground rapper turned ambitious lotto all-rounder has been under marathon entertainment for nine years. winners  know him as the unspoken protector of the group, and his observant nature allows him to encapsulate ideas in his music with a persuasive edge, but he’s at times criticized for being too eccentric and sardonic. 

OVERVIEW

FULL NAME: choi minki

STAGE NAME: MINKI, minkillah (pre-debut/underground)

NICKNAME(S): min, key

GENDER (PRONOUNS): cismale (he/him)

DATE OF BIRTH (AGE): 1994, march 5th. (25)

HOMETOWN: gamcheon village in busan, south korea

RESIDENCE: seoul, south korea

OCCUPATION: lead rapper, vocalist and visual of lotto. 

SEXUALITY: bisexual.

HEIGHT: 181cm

HAIR COLOR: naturally jet black (often dyed for his job, currently dark brown)

EYE COLOR: dark brown

TATTOOS: upper arm white tiger (sleeve tattoo, is a work in progress), roman numeral wrist tattoos (left wrist: lotto debut date / right wrist: his mother's birthday)

PIERCINGS: several in his ears.

SCAR: small childhood scar along his knee from falling on broken glass at the beach.

NOTABLE FEATURES: intense and piercing eyes / long eyelashes / big hands / deep voice / nose, cheek and lip moles / big boxy smile. 

FACE CLAIM: kim taehyung

PERSONALITY

POSITIVE: protective, contemplative, playful, mischievous, ambitious, loyal, soulful, creative, plainspoken, focused, steadfast, sentimental, observant, intuitive, tenacious, passionate, wry.

NEGATIVE: eccentric, sardonic, juvenile, intense, pent-up, stubborn, hard to know, single-minded, competitive, temperamental, moody, untrusting, all-or-nothing.

LIKES: art, music, anything unique, reading long letters from fans, writing, working, poetry, performing, sincerity, intimacy, the sea, candles, mystery, travelling, warm hands, depth, long conversations, feeling connected to someone, driving at night, visiting home, his mother.

DISLIKES: feeling controlled, invasions of privacy, assumptions, loneliness, boredom, shallow conversations, having his trust broken, spinelessness, being lied to, self-victimizing, blowhards, people who don’t keep their word, his father.

HABITS: staying up late to work on music, collecting headbands and baseball caps, chewing gum, bouncing his leg, man-spreading, calling his mom every day, stuffing his hands into his pockets, scribbling lyrics on things he shouldn’t (napkins, his hand), clicking his tongue, quirking his eyebrows, making funny faces to relax, stretching his neck by tilting his head to the side, rolling his shoulders.

FEARS: losing his mom, never being accepted for who he is, resembling his deadbeat dad, the general public finding out his father left their family.

STYLE: streetwear, skatewear, city-ready and modern, comfortable, relaxed fits, a touch of grunge, baseball caps, logo t-shirts, headbands, thick rimmed glasses, black trousers, hoodies, worn buckle-boots, chunky sneakers, retro runners, wide-cut trousers, shirt tuck, pleated pants.

SMOKE? no. 

DRUGS: no.

ALCOHOL: yes.

HEADCANONS

minki’s outer mask of aloofness is a cover for his stormy inner life. he’s always battling between his heart and mind, conscious of how emotions can make him look; sometimes he’s cool and level-headed, and other times he’ll throw his weight around. ultimately he’s emotional and has a great desire for intimacy.  

once he lets his guard down, he’s more than willing to show how much he truly cares for someone. for special someones, he feels a poignant love strong enough to walk through the valley of the shadow of death. when these feelings are hard to verbalize, he expresses them best through action.

the promise of emotional depth and soul-level understanding shines out of his eyes. he’s a good listener, maybe because he’s often listening into the hidden layers of what people are saying. his closest relationships are the equivalent of feeling an overwhelming urge to call someone, only to find they were just about to call you.

in a world of tell-all social media, he’s quite a private person. anyone close to him has to be able to keep secrets. the classified files of his personal history are only ever revealed to those who’ve earned his trust. 

while it can be hard for minki to let others in, he also intensely needs others, and he needs to go deep with them. it’s important for him to have close friends and special someones who are in it with him for the long haul.

he’s got an animal magnetism on stage and knows how to turn it on for the effect of something tender, edgy, soulful or brutal.

prone to jealousy and paranoia and will do anything to hide it. he needs mutual reassurance in relationships, and betrayal of any kind is the death knell for any relationship with him, friendship or otherwise. a true loyalist.

ambitious and will do whatever he needs to attain his goal. he also has a strong competitive characteristic that pushes him to strive for greatness.

drops one-liners and quotables in public that, for good and bad, will follow him until the end of his career. doesn’t seem to get embarrassed even when he misspeaks in interviews and can help dispel tensions at times using poker-faced humor at his own expense.

minki knew next to nothing about fashion or make up prior to joining the company and was shocked to learn stylists saw enough potential in him to appoint him as "visual" of the group. these days he moves with more awareness in regards to how he represents lotto to the public, and sometimes jokes in interviews that his face does all the work.

shockingly good at aegyo despite his image and the intense vibes his face gives off. variety shows used to love asking him to perform cute gestures and whatnot back in the day, but thankfully that doesn't happen as much now that he's older.

sheds not a single tear all year but can be seen full on bawling at the end of annual fanmeetings.

as the third oldest in the group, he’s something of a bridge between the younger members and the oldest members of lotto.

that big goofy rectangle grin makes him look like a different person when he smiles.

one of the members most likely to slip into satoori.

plays the piano; currently learning guitar.

RELATIONSHIPS

MOTHER: choi misun (52), a writer and local artist in gamcheon culture village. 

FATHER: doesn’t know his father. 

SIBLINGS: none. 

OTHER RELATIVES: they’re rarely in touch. 

PETS: none. loves & wants pets of his own, but worries he won’t be able to care for a living thing. dotes on other people’s animals instead.

LOVERS: single.

HISTORY

CHILDHOOD

when minki was born, his mom decided the only thing scarier than being a single mother was not being a mother at all. her ex-boyfriend, minki's dad, denied the child was his and refused to support her decision to keep him. her parents begged her to give the boy for adoption, threatening to disown her, but it was too late: looking into her son’s eyes she felt certain, more than she’d been of anything, that he wasn’t a mistake. he was her miracle. she would raise him alone, an unwanted mother and the black sheep of her family.  

relatives gathering for holidays didn’t want the two of them attending, and neighbors were told made-up stories of a husband passing away, all to protect the family’s reputation. for some time, minki was too young to notice anyone’s absence: it’d always been just him and his mother and he didn’t know of anything different. this changed as he grew up and was confronted with the lack of a father figure in his life - or grandparents, aunts and cousins.

he became painfully aware of his mother’s struggles. her writing and art wasn’t enough to support them, and she worked too hard for most of her life, taking on several labor-intensive jobs to feed and clothe him. theirs was a humble but colorful life in the poor seaside village of gamcheon, located in the coastal city of busan.

at the epicenter of art, beauty and chaos, minki spent his childhood running through steep slopes and tiny alleys nestled between a mishmash of pastel-colored houses, a deep blue sky and ocean in the background. he was often alone, as all throughout school, there were classmates whose mothers instructed them not to play with him, or would tease him for not having a father. 

birds of a feather flock together. minki found friendship in the company of children who either seemed different, outcasts just like him, or those who accepted him and didn’t care about rumors and social status. his best friend was a neighboring child of an eclectic couple of local artists and acquaintances of his mother.

in his early teens, there was anger and hurt simmering beneath minki’s exterior. he was at an emotionally painful passage of his life and wanted to act out, but knew that it would break his mother’s heart if anything ever happened to him. not wanting to hurt her the way his father had hurt her, minki turned to art as an outlet for destructive thoughts, and music became his way of dealing with the sense of chronic loss.

hip-hop was raw, emotional and honest. it was a device in and of itself, a friend to play with.  twotime had a huge influence on minki as a teenager, and inspired him to start writing songs when he was 14 years old. thanks to the democratization of music through the internet, he found a way to pirate software and started producing beats in his bedroom.

CAREER

he was active in busan’s underground hip hop scene during high school, competing in rap battles under the name minkillah. it wasn’t only his rapping that garnered attention; minki eventually began establishing himself as an emerging  producer, composing beats for local talent in his hometown.  

looking for a challenge that would take his music to the next level, minki entered a hip hop competition held by marathon entertainment. when staff met with the young man in person, they insisted he enter a second audition with the potential of joining a new idol group the company planned to debut.

minki passed the second audition and joined marathon entertainment as a trainee at 16. dreaming of one day providing his mother the kind of life where she never had another day, and possibly making music with his role models in twotime, he moved away from home and enrolled into a high school in seoul to complete his formal education while attending daily vocal, rap and dance lessons.

after the grueling trainee period, he joined the final lineup of lotto and debuted as the group’s lead rapper, vocalist and visual.

CONNECTIONS

MASC.

SQUAD GOALS: masc. 20-30. (0/5)  simply put, i’d love for minki to have this big dumb friend group featuring top dog male idols from marathon ent. they’re often seen hugging at award shows, going out for bbq, travelling together, clowning each other and breaking the internet whenever they upload selfies!!

MENTOR: masc. 35+. (0/1) this is an older muse minki looks up to and confides in. whether y/m realizes it or not, they’ve become a father figure to minki. he doesn’t have to be another artist! anyone who works at marathon ent (producer, choreographer, etc) would work, as long as minki feels like he can trust them. they’re equipped with the maturity and experience to give him advice about his life, music or relationships.

SOULMATE: masc. 23-25 (0/1)  soulmate /ˈsə��lmeɪt / noun “a person ideally suited to another as a close friend or romantic partner.” these two are each other’s, through and through. y/m is minki’s second home; they complement and complete each other. their relationship doesn’t have to be romantic at all, even if it has potential to be, in the case of complicated feelings and the crossing of lines. platonic or not, though, minki is in need of deep and meaningful connections, where he feels known. where he feels understood. he thrives off of them. y/m either knows minki since he lived in his hometown busan (there was a childhood best friend, if you’re interested) or since they were trainees. possibly they both attended the same high school in seoul, too.

RIVAL: masc. 23-27. (0/1) a little bit of friendly competition never hurt anyone. these two boys are seen as evenly matched in many regards (leave it to their fans to debate the validity of that, though) and often pitted against each other, sometimes on purpose to rack up clicks and excitement. whether there’s any truth to the rivalry or genuine animosity can be discussed! a future collab between them would create immense amounts of buzz, though.

FEM.

OLDER SISTER. fem. 35+ (0/1) quite similar to the connection above, but in this case, y/m is more of an older sister to minki, maybe even a mom away from home. seeing right through him, she knows when to put him in his place and when to offer him gentle guidance. she’s one of the people he’s come to respect the most at marathon entertainment and he absolutely loathes to disappoint her.

HEARTBREAK: fem. 21-25. (0/1)  minki’s last love was a lost love. maybe they could’ve been happy together if they weren’t both idols, but it’s too late for that now. foolishly, though, they still keep in touch and spent time with each other as  “friends.” they’ve seen so much and know so much of each other, there seems to be no greater comfort for him than hearing y/m’s voice and feeling their warmth in his arms when life goes to shit. but they’re still just friends… let’s hash the rest out to make sure we’re on the same page! inspiration for this connection comes from the lyric “isn’t that what friends are for, even if we used to be more?” from the song partners in crime. if the world was ending is another inspiration.

KNIGHT. fem. 18-23. (0/2) minki as an older brother to y/m!! growing up an only child, he never knew what it was like to have siblings, let alone a younger sister. i think his inexperience in combination with protectiveness could result in endearing and fun interactions. however, he is prone to projecting his own cynical and hostile views onto men that approach women he’s fond of, which isn’t exactly fair to anyone? having someone like y/m in his life could push him toward character-development, though.

NIGHTINGALE. fem. 22-24. (0/1) a nightingale made a mistake; she sang a few notes out of tune: her heart was ready to break, and she hid away from the moon. a small, sweet-voiced songbird that goes on singing late into the night. she's far too bright to be a nocturnal creature in his eyes, but she breaks the stillness, and she’s taken to asking him for advice. they’re quiet company, willing to sit in silence or talk for hours about who knows what, trying to figure out what they are. not even minki knows. he just enjoys her company, and perhaps they’ve found something to bond over. it's still small and precious and new.  

ALL.

ALWAYS: if you're thinking of a different connection that isn't listed here but pings you, please dm me about it!! i'd love to plot and throw in my own suggestions. as a quick aside, i'm always open to friendship, group members, platonic m/f & mf/m dynamics, mentoring, flings, exes, secret relationships, rivalries, innocent crushes, muses, staff members, co-writers, trainees, unrequited feelings, pining, etc.

#ment.intro #OOC.

[213hiphopworldnews]

Smino And Earthgang’s Hoopti Tour Took LA To Outer Space With Their Freaky, Pro-Black Funk

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To some people, sticking a comedian between the two principal acts on your tour would seem like a weird decision. When those two acts are Earthgang and Smino, “weird” comes with the territory — but weird in the most sublime, Outkastian way.

It’s actually sort of brilliant that these two acts sought to seek their collective fortunes in tandem on Smino’s Hoopti Tour, because that shared flag-flying freakiness is not just a common bond between them, it also sets them apart from their respective collaborators and crews, giving them license to do whatever the hell they want. That devil-may-care, anything-goes disposition is what has endeared them to legions of fans nationwide despite both artists flying well under the radar for the early parts of their careers. That condition is about as likely to change as Earthgang’s Johnny Venus is to wrap his locs in a colorful head scarf — almost certain.

When Chicago producer extraordinaire Phoelix opened the show with as much panache and polish as many of the veteran artists he’s worked with — Noname, Saba, Smino — it was hard to believe his claim that this was his first tour, so authentic was the Windy City soul behind his falsetto vocals. He delivered one hell of an opening act, making way for the outer space funk to follow. His traditional brand of slowed down, Fender-Rhodes-keyboard-soul provided the perfect springboard and connective tissue for the more well-known acts to follow. He’ll definitely be worth paying attention to as he edges into the spotlight alongside his famous friends.

Earthgang, the Dreamville-approved Atlanta duo comprised of Doctur Dot and Johnny Venus, lit up the room, both literally and figuratively, with their set, emanating a genuine exuberance at being able to share the stage with one another and share the electric chemistry that’s gotten them compared to another pair of ATLiens as spiritual successors — if not literal ones. Performing a string of songs pulled from their three alliteratively titled EPs, Rags, Robots, and Royalty, they zipped across the stage like pinballs, exhorting the crowd to mirror their infectious energy.

After the aforementioned comedian held court from a seat on stage for a bit, the curtain dramatically fell before reopening to reveal Smino, his backup singer, and his live band standing on a stage decked out to look like the inside of a car customization shop. There were racks of rims scattered around, the DJ booth was nestled into a stack of tires — painted bright yellow, for the extra cosmic pop that truly made them part of Smino’s Parliament-inspired set. Speaking of pop, a sign in one corner of the stage advertised a fictitious brand of soda as well as the name of the tour, completing the look.

As for Smino’s set, I can only say it resembled the feel of something fifteen years older, which is a very good thing. Despite borrowing more from ATL production crew Organized Noize as far as his musical roots, Smino’s staging and and mannerisms reminded me a lot of the crunk and snap eras that dominated the early 2000s. Smino wore a baggy t-shirt and jeans, evoking the style of the era, although he thankfully kept away from the comical dimensions that marked the end of that particular era in favor of looser but still fitting wardrobe choices. But the truly striking aspect was his confidence and the way he moved.

Back then, before mosh pits were the preferred form of audience participation and seemingly every artist mimicked either a stoned poet or a caffeinated Drake, groups like Atlanta’s Eastside Boyz and Smino’s hometown St. Lunatics brought a rambunctious free-flowing energy, which was built upon by Crime Mobs, D4Ls, and Dem Franchise Boyz. There was chaos, but it was controlled, coordinated. Everybody two-stepped, everybody snapped, on command. Bows were thrown but it was all in love and enjoyment, and everybody had a goofy, two-move dance that was easy to pick up and lean into before Soulja Boy had us all practicing cranking dat at home.

Smino not only grounded his performance in that sort of lighthearted coordination, he actively invoked it, pausing between performances of favored hits from both his albums Blkswn and Noir like “Anita,” “Glass Flows,” “Hoopti,” “Klink,” “Netflix & Dusse,” “Pizano,” and “Z4L” — he joked that he’d performed 30 songs by the end of his set, but the number wasn’t far off — to pepper his performance with band-backed covers of Yung Joc’s “It’s Going Down” and even set off a swag surf that the young LA crowd enthusiastically jumped into, even if it was a little shaky on the execution side. Smino’s charisma through it all could have seen him bopping along during MTV’s Spring Break performances, even as the silky, pro-Black funk took a hard left turn away from the crunk anthems that obviously inspired him just as much as the jazz raps of his peers.

That both Earthgang and Smino are the designated George Clinton and Bootsy Collins of their respective clans — Earthgang with Dreamville, and Smino with the loose collection of Midwestern, Chicago-based backpackers that includes Noname, Mick Jenkins, and Saba — allows them to try stranger things than some of their more straightlaced compatriots. While a swag surf might seem out of place at a J. Cole show, with its mellow vibes, and Noname is far too soft-spoken to demand the audience “release the soul of their spirits” as a guttural battle cry at the close of a set like Earthgang did, Smino, Doctor Dot, and Johnny Venus are allowed to do a little more rule-breaking and freewheeling. They’re the parts of their respective crews that color outside the lines, drawing even more attention to themselves and those groups as a whole. Every gang needs a wild card. With their Organized Noize-inspired sounds and Funkadelic-influenced looks, these two acts are just that, keeping things interesting, and those freak flags flying.

source https://uproxx.com/hiphop/smino-earthgang-live-review-hoopti-tour-la/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

TMZ Live: Nipsey Hussle, Remembering the Rap & Community Icon

ON TODAY'S SHOW Chris Rock Blasts Jussie Smollett at NAACP Image Awards Kanye West: I'm Performing at Coachella After All! Lori Loughlin Breaks Her Silence Jada Pinkett Smith Splits From the Kardashians

source https://www.tmz.com/2019/04/01/tmz-live/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

The Best Music Documentaries On Netflix Right Now

Netflix

Last Updated: January 30th

For music fans, Netflix is a boon, hosting a wide range of different documentaries and concert films about a truly staggering array of different subjects from just about every single genre you can imagine. Classic rock, country, soul, R&B, EDM, jazz: you name it, and there’s probably something for you to find on the streaming service. To help ease the selection process, here are 20 of the best and most compelling music documentaries currently available to watch on Netflix right now.

Related: The Best Music Documentaries Of All Time

Fyre: The Greatest Festival That Never Happened

Incidentally, one of two documentaries on the subject, the Netflix version is produced by Jerry Studios and Vice Media, which gives it a behind-the-scenes edge that the Hulu version lacks but also does its best to mitigate the culpability of Jerry Studios’ parent brand, the F*ck Jerry marketing agency. It’s a fascinating look behind the curtain of just how the Fyre Festival went so disastrously wrong, from logistical issues to the unrelenting excess of Fyre founder Billy McFarland.

20 Feet From Stardom

You never notice them but they’re always there. This documentary chronicles the stories of your favorite stars’ backup singers, the folks who touch some of the biggest stages in the world but remain just outside the spotlight. They’re often just as talented, but build careers out of anonymity and some of their stories are just as fascinating as the stars they support.

Anvil: The Story Of Anvil

Not every band “makes it.” That’s a simple yet brutal fact. For every Led Zeppelin and Rolling Stones, there are thousands, even millions of other groups that never get past the club stage. Anvil was just one of those groups. Directed by screenwriter Sacha Gervasi, Anvil: The Story Of Anvil tells the tale of an obscure Canadian heavy metal band who reached for the brass ring but never got a hold of it. It’s a tale rarely told, but one common to an untold number of artists over the last several decades.

Bad Rap

This 2016 documentary directed by Salima Koroma follows four Korean-American rappers as they maneuver through the complexities of being minorities both in America and in hip-hop culture. Before Awkwafina was flying high with Crazy Rich Asians she was battling for rap clout alongside Dumbfoundead, Rekstizzy, and Lyricks, chasing a dream and trying to defy expectations as they searched for, and proudly displayed, their identity through hip-hop.

Chasing Trane

For many, John Coltrane remains an enigma. Having died at the all-too-early age of 40 back in 1967, he made a massive imprint in his lifetime through a genre-defining series of albums like Giant Steps and A Love Supreme, while working with the luminaries such as Miles Davis, Thelonious Monk, and Dizzy Gillespie. Chasing Trane peels back some of the layers of mystery that surround the sax player and serves as a prime introduction for those unfamiliar with his music.

Danny Says

It’s very possible to tell the entire history of the rise of punk rock through the view of Danny Fields. The documentarians behind Danny Says intended to do just that. The legendary publicist was there during the heady days of the Velvet Underground at Andy Warhol’s Factory in New York City. He was eventually hired by Elektra Records where he worked with The Doors, The MC5, and the Stooges, before discovering the Ramones and helping them get a record deal of their own. It’s a fascinating tale of an incredible, musical life.

Gaga: 5 Foot 2

Documentaries about pop stars that go beyond fan service propaganda are exceedingly rare. It’s one of the reasons that Gaga 5 Foot 2 is so compelling. Rarely do we ever really get to see the physical and mental toll it takes to roll out a new album and prepare to perform in front of more than 100 million people at the halftime show at the Super Bowl. Lady Gaga allowed the cameras to film her every move as she did just that, for an unflinching and uncompromising look at what it’s really like to be an artist of the highest level in the 21st century.

George Harrison: Living In The Material World

What’s a list of music documentaries without at least one entry from Martin Scorsese? The legendary filmmaker has put together some of the greatest music docs and concert films of all-time — The Last Waltz anyone? — yet only one of his works is currently streaming on Netflix. It’s a doozie however, a three-hour long tale about the “Quiet Beatle” George Harrison. Come to learn more about Harrison’s days in the Fab Four, stay for Tom Petty’s hilarious ukuleles in the car trunk story.

I Called Him Morgan

Part-music documentary, part-true crime film, I Called Him Morgan recounts the life and murder of jazz trumpeter Lee Morgan, as told by the woman who shot him, his common-law wife Helen. Along with a who’s who of American jazz talent that includes Wayne Shorter, Jymie Merritt, and Billy Harper, the filmmakers also spoke at length with Helen Morgan, to give as complete a portrait possible of the couple’s tumultuous and ultimately deadly relationship.

Keith Richards: Under The Influence

Keith Richards is basically synonymous with the phrase “rock star.” The man has led a singular life, filled with enough drugs, women, and acts of violence to kill any normal human being. The fact that he’s still around, blasting stadiums around the world with his signature, blues-derived riffs is simply incredible. Under The Influence goes deep beyond the legend of Keef, showing you the man himself at his most unguarded as he crafts his first solo album in decades.

Metallica: Some Kind Of Monster

What was intended to be a simple behind-the-scenes chronicle of Metallica putting together their most recent album, the critically maligned St. Anger, turned instead into a fascinating glimpse into the inner workings of the biggest band in metal history as it was coming apart at the seams. Emotions run high as bassist Jason Newstead leaves the group, making way for the introduction of Robert Trujillo. Singer James Hetfield checks into rehab during recording, and the entire band signs up for group therapy when he comes back. It’s easily one of the most enthralling docs on this entire list.

Miss Sharon Jones!

A year in the life of Sharon Jones, and what a year it was, finding the soul singer working on her new album with the help of the Dap-Kings, while also battling against a grim pancreatic cancer diagnosis. It’s an inspiring film about persevering in the face of the longest odds imaginable and the power of music itself. Sadly, Jones succumbed in her battle with cancer just last year.

Mr. Dynamite: The Rise Of James Brown

Every modern frontman in the worlds of rock, soul, pop, and R&B owes a debt of gratitude to James Brown. The Georgia-born singer set the mold for what a leading man should do to capture a crowds attention while onstage. In this documentary directed by Alex Gibney and produced by the guy that James Brown blew off the stage at the famous T.A.M.I. Show concert in the 1960s, Mick Jagger, you’ll learn exactly how a young boy went from a forgotten child living in a brothel to becoming the greatest showman in the history of modern music.

Rapture

More than just a single film, Rapture is a Netflix original documentary series, that profiles the lives, careers, and artistry of some of the biggest rap stars to ever pick up a microphone. Those profiled in the eight installments include Nas, Dave East, Logic, T.I., G-Eazy, 2 Chainz, Just Blaze, Rapsody, and Boogie Wit Da Hoodie. If you’re a fan of hip-hop from ’94 on, this is a can’t-miss.

Rush: Beyond The Lighted Stage

Beyond The Lighted Stage is the story, well-told, of what many consider to be the greatest prog rock band of all-time: Rush. You’ll learn about their rise from cold confines of Ontario, Canada to the biggest stages on the planet, told by the band members themselves as well as some of their most famous fans, including Trent Reznor, Billy Corgan, Jack, Black Tool’s drummer Danny Carey — as big a Neil Pert disciple as anyone — and Kirk Hammett to name just a few.

Springsteen & I

So many music documentaries and book-length biographies try to center themselves around the view from the performer’s side of the railing. Springsteen & I flips that script entirely. Having spent decades fostering one of the most pathologically devoted fanbases in all of music, the filmmakers behind this documentary decided to cultivate the Boss’s tale from the view of the people. You’ll get a sense as you watch of what makes Springsteen such a compelling figure in American musical history, but you’ll also come away with an interesting take on what it means to be a fan as well.

Taylor Swift Reputation Stadium Tour

Following Taylor’s Reputation tour stop in Dallas, this film features backstage footage and show-stopping performances from one of pop music’s biggest acts.

What Happened, Miss Simone?

Nina Simone is one of the most mysterious, ethereal singers of all-time. Her music has an almost spiritual quality, especially some of the early ’60s recordings like “Sinnerman” and “Strange Fruit.” As talented as she was, Simone was also beset by demons, that left her alienated from friends and family as she moved from America to Europe, while also battling an abusive spouse and the crackdown against African-Americans in America in the face of the civil rights movement. What Happened, Miss Simone? is a film that captures a full portrait of this one-of-a-kind human being.

When You’re Strange: A Film About The Doors

The goal of the film When You’re Strange was simple: To counteract many of the myths surrounding The Doors that had cropped up in the wake of the release of Oliver Stone’s dramatic film about the band starring Val Kilmer. As noble as that pursuit is, I’m not quite sure it succeeds, however, the use of footage taken from lead singer Jim Morrison’s short film HWY: An American Pastoral, which was seen here publicly for the first time is certainly pretty cool.

source https://uproxx.com/music/best-music-documentaries-on-netflix-right-now/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

Quavo And Ray Allen Headline The 2019 NBA Celebrity All-Star Game

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What do you do when you tear it up on the court, win a Most Valuable Player trophy, and earn a rep as a serious baller? If you’re Quavo, you run it back in Charlotte to defend your crown. One third of the Migos trio lit up last year’s NBA Celebrity All-Star Game for 19 points. This year, Quavo might have to work a little bit harder to defend his crown as the best celebrity hooper out there.

The rosters for the Celebrity Game dropped on Wednesday morning, and while Quavo earns the most attention among the celebs, there are plenty of other notable names, like J.B Smoove and Bad Bunny. The basketball world will also be well-represented, with Ray Allen, Stefanie Dolson, and Jay Williams taking the floor.

The NBA decided to add some local flair to the game, too, with former Carolina Panther and current NFL Network analyst Steve Smith making his first appearance in the game. A pair of former South Carolina Gamecock standouts, WNBA star A’Ja Wilson and Hall of Fame inductee Dawn Staley (who will serve as a coach), will also add some local flavor.

Here are the full rosters for the game:

Home

Nick Cannon Mike Colter Chris Daughtry Terrence J Famous Los Dr. Oz Rapsody JB Smoove Steve Sith A’ja Wilson Jay Williams Jason Weinmann

Coach: Dawn Staley

Away

Ronnie 2K Ray Allen AJ Buckley Bad Bunny Stefanie Dolson Marc Lasry Hasan Minhaj Quavo Adam Ray Amanda Seales James Shaw Jr. Brad Williams

Coach: Sue Bird

Beyond the rosters, the NBA will add something called the “THE RIDGE,” a 4-point line sponsored by Ruffles. In a move straight out of the BIG3, there will be a 4-point spot on the court shaped like a potato chip. For every shot made from the spot, Ruffles will donate $4,000 to the Special Olympics.

Quavo coming back to defend his crown is notable, but this is slated to be as entertaining of a Celebrity Game as we’ve seen. If you’d like to check it out, tune into ESPN at 7 p.m. on Feb. 15.

source https://uproxx.com/dimemag/nba-all-star-celebrity-game-2019-rosters-quavo-ray-allen/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

Kanye West’s ‘808s And Heartbreak’ Was As Much An Ending As It Was A Beginning

Def Jam / Getty

Before we talk about what 808s And Heartbreak represented the beginning of, let’s look at what it marked the ending of. Revisiting Kanye West‘s fourth album ten years after its initial release, it’s remarkable how deliberately paced it sounds, from the metronomic morphine drip that opens “Say You Will” to the stormy, stomping synth-pop of “Coldest Winter.” It’s a record that, musically, takes its time with little regard to who’s listening, with tempos that crawl through muddy electronic textures and extended, gripe-laden outros over chintzy string arrangements. The peppiest-sounding song resembles something Andrew Lloyd Webber — Broadway’s practical king of bloat — would conceive of in his sleep, and the “bonus track” is a poorly-sourced six-minute live recording consisting of free-associative wallowing and unnerving crowd noise.

Previous to 808s, Kanye was no stranger to runtime-testing largesse and patience-testing tempos; his 2004 debut The College Dropout ended with 12 minutes of self-mythologizing rambling over “Last Call,” the following year’s Late Registration was an album-length study in unquestioned sonic opulence, and smack dab in the middle of 2007’s blockbuster Graduation was the trudging, obnoxious “Drunk And Hot Girls,” centered around a decaying sample of Can’s “Sing Swan Song.” Even though Kanye retained some of his bloated tendencies post-808s, chaos increasingly dominated his music: the on-a-dime proggy-ness of My Beautiful Dark Twisted Fantasy, Yeezus‘ gnarled car-crash music, the glitchy unpredictability of The Life Of Pablo‘s damaged-cassette unpredictability, and Ye‘s tossed-off mercurial miserabilia all came across as loud, bright, and in-your-face—all elements that 808s resolutely does not possess.

A difficult and selfish work of art that digs its heels in with stubbornness at nearly every turn, 808s was a commercial success in spite of itself, which speaks to Kanye’s culture-dominating stature at the time of its release. Its predecessor, Graduation, sold nearly a million copies in its first week and, after a much-hyped release-date face-off between the two, effectively killed 50 Cent’s career; 808s did about half as much sales-wise its first week of release with 450,145 copies pushed, numbers that regardless could be considered very successful in a recession-hobbled economy and a music industry perpetually facing declining fortunes. Of Kanye’s post-808s output, only Twisted Fantasy fared slightly better with 496,000 units sold; this year’s Ye did a paltry 85,000 in pure album sales.

Even as 808s captured Kanye approaching the height of his creative powers, the 808s era also marked the beginning of the end when it came to his pull as a mass-appeal pop figure. His notorious confrontation with Taylor Swift at the following year’s MTV Video Music Awards — a pop-cultural instance so titanically impactful for the following decade that it’s practically the millennial version of the O.J. trial — destroyed his public image permanently, the following decade spent alternately digging himself a deeper hole and shouting to whoever’s still around that the hole’s actually much better than anyone else’s. The moody multitudes that Kanye continues to contain — alternating between self-pity and apologia, misplaced benevolence and unmistakable recalcitrance, or all four at once if the mood strikes him — can all be traced back to 808s, a record that adopts the maxim of living miserably as the best revenge.

Much hay is often made about how influential 808s was on the ensuing decade of R&B, pop, and hip-hop — and deservedly so. Drake, whose global popularity continues to reach unbelievable heights a decade into his career, arguably wouldn’t be the record-smashing star he is today without the 808s-lite of his 2009 mixtape So Far Gone; nearly every proceeding album in his catalog thus far has similarly borrowed from 808s‘ dark, rippling melodies and petty airing of grievances. Same goes for The Weeknd, as well as every other post-Drake rapper and crooner effectively turning out a copy of a copy and presenting it as aesthetic.

But these canny facsimiles have often provided a reflecting pool-level depth of reflection, their emotional palettes consisting of petty purples, bitter post-breakup grays, and not much else. Even Post Malone — an astronomically successful young person who is also the only other artist besides Drake who seems capable of selling records in 2018 — elicits echoes of 808s with every pop-fogged cloud of ennui he expels. A decade on, all this wallowing comes across as little more than, well, wallowing, and if Kanye’s own emotional conveyances on 808s came across as curious revelations upon release, not all of them have aged well since.

For every deliciously sad slice of melancholia — the wavering “Street Lights” or the punchy “Paranoid” — there are bitter diatribes verging on total overkill. On the histrionic and ridiculous “Robocop,” Kanye preens and seethes through thickets of Autotune and Disney strings, presumably addressing ex-fiancé Alexis Phifer (the breakup of said relationship acting as one of a few 808s catalysts) as “just a stupid LA girl.” Then there’s the penultimate track “See You In My Nightmares,” an airless duet between Kanye and Lil Wayne soundtracked by MIDI-sounding horns that eventually congeals into an ouroboros of resentment. “In the end, it’s still so lonely,” Kanye croaks over the morose bounce of “Heartless,” a moment of reflection shattered when he later sneers, “You’ll never find nobody better than me.”

But the poisonous lashing-out that consumes so much of 808s is occasionally undercut by different shades of vulnerability, too. The swirling “Welcome To Heartbreak” finds Kanye evoking Click-in-miniature-form, rhapsodizing about missed family gatherings before revealing nakedly, “Look back on my life and my life gone / Where did I go wrong?” “I just wanna be a real boy,” he moans over the barely-there piano and squeals of screams on “Pinocchio Story,” unintentionally evoking the perpetual childhood and similarly fame-ravaged life of the late Michael Jackson (who, at the time, was a huge fan of 808s). Then there’s “Coldest Winter” — a towering epic of grief delivered through an interpolation of Tears For Fears’ 1983 song “Memories Fade,” concerning the passing of West’s mother Donda the year previous. “Goodbye my friend / I will never love again,” he yells into the void, directly addressing his pain with startling finality and decisiveness.

A few months prior to 808s‘ release, Kanye embarked on the Glow In The Dark tour, a massive spectacle involving talking spaceships and a gargantuan setlist; when I caught the New York City tour stop, he concluded a brief run-through of Late Registration‘s “Hey Mama” by turning the house lights up and sitting on the edge of the stage with his head in his hands, while Journey’s “Don’t Stop Believing” blared through Madison Square Garden. During the Yeezus show at Brooklyn’s Barclays Center, he laid out on his back while belting out “Coldest Winter.” In the controversy-drenched years since these public events, Kanye’s been branded by many as someone who’s definitely lost some greater battle — but bookended by these displays of body language, the public grief of 808s simply comes across as defeated, as well as possibly the last time that being able to understand where Kanye was coming from seemed within reach.

source https://uproxx.com/hiphop/kanye-west-808s-and-heartbreak-10th-anniversary/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

Missy Elliott on Writing For Aaliyah, Beyonce and Herself

Missy Elliott, who has a history of writing and producing some of pop music’s most creative and catchy songs, breaks down some of the hits she... source http://www.billboard.com/node/8487105

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

All The New Albums Coming Out In September 2018

iStock

Keeping track of all the new albums coming out in a given month is a big job, but we’re up for it: Below is a comprehensive list of the major releases you can look forward to in September. If you’re not trying to potentially miss out on anything, it might be a good idea to keep reading.

Friday, September 7

Adult. — This Behavior (Dais Records)

The Alex Skolnick (Alex Skolnick of Testament) — Conundrum (Palmetto+)

Alvaro Soler — Mar De Colores (Sony Music Entertainment Inc.)

Amnesia Scanner — Another Life (PAN)

Ava Luna — Moon 2 (Western Vinyl)

Ben Danaher — Still Feel Lucky (Soundly Music, LLC)

Ben Fisher — Does The Land Remember Me? (Treleven Music)

The Blaze — Dancehall (Columbia Records)

Boston Manor — Welcome To The Neighbourhood (Pure Noise Records)

C418 — Excursions (self-released)

Cauldron — New Gods (The End Records)

The Chairman Dances — Child Of My Sorrow (Black Rd)

Chilly Gonzales — Solo Piano III (Gentle Threat Ltd.)

Chris Liebing — Burn Slow (Mute Records)

Church Girls — Home EP (self-released)

Dan Koshute — All The Way Always (Magna Persona)

Donna Missal — This Time (Harvest Records)

DOWNPOUR (members of Shadows Fall and Unearth) — DOWNPOUR (self-released)

Elijah Wolf — On The Mtn Laurel Rd (Old Flame Records)

Eric Bachmann (of Archers Of Loaf) — No Recover (Merge Records)

Escape-ism (Ian Svenonius) — The Lost Record (Merge Records)

Ferry Corsten and Saad Ayub — Synchronicity (Flashover Recordings)

Future Thieves — Future Thieves (self-released)

Gamblers — Corinthian Order (Gamblers)

Ghostland Observatory — See You Later (Trashy Moped)

Ginla — Codex (Terrible Records)

Gold Star — Uppers & Downers (Autumn Tone Records)

ITAL TEK — Bodied (Planet Mu)

JEFF The Brotherhood — Magick Songs (Dine Alone Records)

Jesse And The Dandelions — Give Up The Gold (self-released)

Jesse Harris — Aquarelle (Secret Sun Recordings)

Joep Beving — Conatus (Deutsche Grammophon)

Joey Purp — Quarterthing (self-released)

Joey Sweeney & The Neon Grease — Catholic School (Burnt Toast Vinyl)

Judy Blank — Morning Sun (Munich Records)

Kandace Springs — Indigo (Capitol Records)

Kathy Mattea — Pretty Bird (Captain Potato)

Kevin Harrison & True North — Howl (self-released)

Kilo Kish — MOTHE EP (self-released)

KINGCROW — The Persistence (The Laser’s Edge)

Kito — HAANI EP (Bimyou)

LA CHNGA — Beyond The Sky (Small Stone Records)

La Force (Ariel Engle of Broken Social Scene) — La Force (Arts & Crafts)

Lenny Kravitz — Raise Vibration (BMG Rights Management (UK) Limited)

LIINKS — Ridge Road (Westwood Records)

Macy Gray — Ruby (Artistry Music)

MAJOR. — Even More (EMPIRE)

Maribou State — Kingdoms In Colour (Counter Records)

Mike Farris — Silver And Stone (Compass Records Group)

Milo Greene — Adult Contemporary (Nettwerk Records)

Mirah — Understanding (Absolute Magnitude Recordings)

mmph — Serenade EP (Tri Angle)

MNEK — Language (Virgin EMI Records)

The Molochs — Flowers In The Spring (Innovative Leisure)

The Mommyheads — Soundtrack To The World’s End (Dead Frog Recrods)

Morne — To The Night Unknown (Armageddon Label)

Mothers — Render Another Ugly Method (ANTI‐)

Nashville Pussy — Pleased To Eat You (earMUSIC)

New Reveille — The Keep (Loud & Proud Records)

The Night Game — The Night Game (Interscope)

Nile Rodgers And Chic — It’s About Time (Virgin EMI Records)

The O’Mys — Tomorrow (self-released)

Papadosio — Content Coma (self-released)

Paul Carrack — These Days (Carrack UK)

Paul McCartney — Egypt Station (Capitol Records)

Paul Simon — In The Blue Light (Legacy Recordings)

Pig Destroyer — Head Cage (Relapse Records)

Pile — Odds And Ends (Exploding In Sound Records)

Pohgoh — Secret Club (New Granada Records)

The Primals — All Love Is True Love ((RED) Southern Lord)

Rae Spoon — Bodiesofwater (Coax Records)

Rebecca & Fiona — Art Of Being A Girl (Stereo Stereo)

Renée Fleming — Broadway (Decca Classics)

Rudimental — Toast To Our Differences (Atlantic Records UK)

Russ — Zoo (self-released)

Ruston Kelly — Dying Star (New Rounder)

Say Hi — Caterpillar Centipede (Euphobia Records)

Seasaw — Big Dogs (self-released)

Sauna Youth — Deaths (Upset The Rhythm)

Shannen Moser — I’ll Sing (Lame-O Records)

Spiral Deluxe (featuring Jeff Mills) — Voodoo Magic (Axis Records)

Spiritualized — And Nothing Hurt (Fat Possum Records)

St. Paul & The Broken Bones — Young Sick Camellia (RECORDS, LLC)

Steven A. Clark — Where Neon Goes To Die (Secretly Canadian)

Stoned Jesus — Pilgrims (Napalm Records)

The Stray Birds — Let It Pass (Yep Roc Records)

Stoned Jesus — Pilgrims (Napalm Records)

The Stryker Brothers — Burn Band (Scriptorium Rex)

Sudakistan — Swedish Cobra (PNKSLM Recordings)

Suicidal Tendencies — Still Cyco Punk After All These Years (Suicidal Records)

Suicideboys — I Want To Die In New Orleans (G59 Records)

Super City — Sanctuary (self-released)

Swamp Dogg — Love, Loss And Auto-Tune (Joyful Noise Recordings)

Teksti-TV 666 — Aidattu Tulevaisuus (Svart Records)

Teleman — Family Of Aliens (Moshi Moshi Records)

Tom Freund — East Of Lincoln (Surf Road)

Tuomo & Markus — Dead Circles (Grand Pop)

Waxahatchee — Great Thunder (Merge Records)

Yotto — Hyperfall (Anjunadeep)

Friday, September 14

Ace Clark — Black Privilege (self-released)

Active Bird — Amends (Barsuk Records)

Alejandro Escovedo — The Crossing (Yep Roc Records)

Alex Clare — Three Days At Greenmount (ETC Recordings)

Ann Wilson (of Heart) — Immortal (BMG)

Aphex Twin — Collapse (Warp)

Art Thieves — Russian Rats (State Line Records)

Asleep At The Wheel — New Routes (Bismeaux Records)

The Band Of Heathens — A Message From The People Revisited (BOH Records)

Ben Poole — Anytime You Need Me (Manhaton Records)

Beta Radio — Ancient Transition (Nettwerk Records)

Billy Moon — Punk Songs (Missed Connection Records)

Black Belt Eagle Scout — Mother Of My Children (Saddle Creek)

Blanca — Shattered (Word Records)

Bob Moses — Battle Lines (Domino Recording Company)

Bosse-de-Nage — Further Still (The Flenser)

Brandon Coleman — Resistance (Brainfeeder)

Brant Bjork (of Kyuss) — Mankind Woman (Heavy Phych Sound Records)

Calvin Valentine — Keep Summer Safe (Mello Music Group)

Capital Punishment (Ben Stiller’s high school band) — Roadkill (Reissue) (Captured Tracks)

Carrie Underwood — Cry Pretty (Capitol Records Nashville)

Cedric Burnside — Benton County Relic (Single Lock Records)

The Chills — Snow Bound (Fire Records)

Coming Soon — Sentimental Jukebox (Kidderminster)

Conan — Existential Void Guardian (Napalm Records)

Dad Brains — Dad Brains EP (self-released)

David Guetta — 7 (What a Music LTD)

David Nail And The Well Ravens — Only This And Nothing More (One Five Sound)

Dilly Dally — Heaven (Dine Alone Records)

The Dirty Nil — Master Volume (Dine Alone Records)

Dream Child — Until Death Do We Meet Again (Frontiers Music)

Dunbarrow — Dunbarrow II (RidingEasy Records)

Emma Louise — Lilac Everything (Liberation Records)

Emma Ruth Rundle — On Dark Horses (Sargent House)

Erik Deutsch — Falling Flowers (LoHi Records)

Exploded View — Obey (Sacred Bones Records)

Fatherson — Sum Of All Your Parts (Easy Life Records)

Film School — Bright To Death (Cobraside Records)

Fit For A King — Dark Skies (Solid State Records)

Fred Thomas — Aftering (Polyvinyl Record Co.)

Future Generations — Landscape (Frenchkiss Records)

Gareth Sager & The Hungry Ghosts — Juicy Rivers (Creeping Bent)

Good Charlotte — Generation Rx (BMG Rights Management (US) LLC)

The Goon Sax — We’re Not Talking (Wichita Recordings)

Grave Digger — The Living Dead (Napalm Records)

Guerrilla Toss — Twisted Crystal (DFA Records)

Hawkwind — Road To Utopia (Cherry Red Records)

He Arrived By Helicopter — The Shiny Hostel (Very Special Recordings)

The Holydrug Couple — Hyper Super Mega (Sacred Bones Records)

Howard — Together Alone (Fashion People)

Infernal Coil — Within A World Forgotten (Profound Lore Records)

Jack Drag — 2018 (Burger Records)

Jean-Michel Jarre — Planet Jarre (Columbia Records)

Jóhann Jóhannsson — Mandy OST (Lakeshore Records)

Jonathan Scales Fourchestra — PILLAR (Ropeadope)

Juiceboxxx — Never Surrender Forever EP (Dangerbird Records)

Jump, Little Children — Sparrow (self-released)

Jungle — For Ever (XL Recordings)

Knife Knights (Ishmael Butler and Erik Blood) — 1 Time Mirage (Sub Pop)

Lawrence — Living Room (self-released)

Leland And The Silver Wells — Leland And The Silver Wells (self-released)

Living With Lions — Island (No Sleep Records)

Lonely Parade — The Pits (Buzz Records)

Low — Double Negative (Sub Pop)

Loudon Wainwright III — Years In The Making (StorySound Records)

Lyrics Born — Quite A Life (Mobile Home Recordings)

Malcolm Holcombe — Come Hell Or High Water (Gypsy Eyes Music)

Medeski Martin & Wood with Alarm Will Sound — Omnisphere (Indirecto)

Monster Truck — True Rockers (Dine Alone Records)

Night Shop — In The Break (Woodsist)

North Americans — Going Steady (Driftless Recordings)

Old Faith — Old Faith (Refresh Records)

Ominous Eclipse — Sinister (NONE)

Orbital — Monsters Exist (ACP Recordings Ltd)

Pale Waves — My Mind Makes Noises (Dirty Hit)

Paul Weller — True Meanings (Parlophone)

PYREXIA — Unholy Requiem (Unique Leader Records)

Richard Thompson — 13 Rivers (New West Records)

Saint Slumber — Youth//2 EP (Kingless Co. Records)

Sandro Perri — In Another Life (Constellation Records)

Sextile — 3 EP (Felte)

Shortly — Richmond EP (Triple Crown)

Sleaford Mods — Sleaford Mods EP (Rough Trade Records)

Slothrust — The Pact (Dangerbird Records)

Snakes In Paradise — Step Into The Light (FRONTIERS RECORDS)

Sons Of Raphael — A Nation Of Bloodsuckers EP (Because Music)

Spirit Of The Beehive — Hypnic Jerks (Tiny Engines)

Steven Page (of Barenaked Ladies) — Discipline: Heal Thyself, Pt. II (Warner Music Canada)

Thrice — Palms (Epitaph Records)

Tony Bennett and Diana Krall — Love Is Here To Stay (Verve Label Group)

The Trews — Civilianiares (MapleCore Ltd.)

Uriah Heep — Living The Dream (FRONTIERS RECORDS)

We Were Promised Jetpacks — The More I Sleep The Less I Dream (Big Scary Monsters Recording Company)

Willie Nelson — My Way (Legacy Recordings)

Friday, September 21

A Boogie Wit Da Hoodie — The International Artist (Atlantic Records)

Adam’s House Cat (Drive-By Truckers) — Town Burned Down (ATO Records)

Advance Base — Animal Companionship (Run for Cover Records)

Amy Helm — This Too Shall Light (Yep Roc Records)

Anthony Roth Costanzo — ARC (Universal Music Classics)

Bad Moves — Tell No One (Don Giovanni Records)

Beak> — >>> (Invada Records)

Billy Gibbons (of ZZ Top) — The Big Bad Blues (Concord Records, Inc.)

Bitchin Bajas — Rebajas (Drag City)

The Blinders — Columbia (Modern Sky Entertainment)

Brooks Thomas — Poison (Hornblow Recordings)

Carl Broemel (of My Morning Jacket) — Wished Out (Stocks In Asia)

Christine And The Queens — Chris (Because Music)

Dragonlord (Eric Peterson of Testament) — Dominion (Universal Music Oy)

Drew McDowall — The Third Helix (Resident Advisor)

Elysian Fields — Pink Air (Microcultures)

The Field — Infinite Moment (Kompakt)

Greg Laswell — Next Time (Vanguard)

Human People — Butterflies Drink Turtle Tears (Exploding In Sound Records)

Hypoluxo — Running On A Fence (Broken Circles)

Joe Bonamassa — Redemption (J&R Adventures)

Jonathan Goldberger, JP Schlegelmilch, And Jim Black — Visitors (Skirl Records)

Josh Groban — Bridges (Reprise Records)

Joyce Manor — Million Dollars To Kill Me (Epitaph Records)

The Last Bison — SÜDA (AntiFragile Music)

Lonnie Holly — MITH (Jagjaguwar)

Macy Gray — Ruby (Artistry Music)

Mandy Barnett — Strange Conversation (Dame Productions)

Mount Eerie — (after) (P.W. Elverum & Sun)

Mountain Man — Magic Ship (Nonesuch Records Inc.)

Mutual Benefit — Thunder Follows The Light Out (Transgressive)

The Paper Kites — On The Corner Where You Live (Wonderlick Entertainment)

Piles — Una Volta (Aagoo Records)

Plainride — Life Of Ares (Ripple Music)

Prince — Piano & A Microphone 1983 (Warner Bros. Records)

Richard Reed Parry (of Arcade Fire) — Quiet River Of Dust Vol. 1 (ANTI‐)

Ryan Hemsworth — Elsewhere (Last Gang/Secret Songs)

Same Girls — Young Minded (Text Me Records)

Say Lou Lou — Immortelle (á Deux/Cosmos Music)

Sha La Das — Love In The Wind (Dunham Records)

Sigala — Brighter Days (Ministry of Sound Recordings)

Slash featuring Myles Kennedy & The Conspirators — Living The Dream (Snakepit Records)

Sobrenadar — y (Absent Fever)

St. Lucia — Hyperion (Columbia Records)

Subways On The Sun — Capsize (Spartan Records)

Suede — The Blue Hour (Rhino Entertainment)

SUMAC — Love In Shadow (Thrill Jockey Records)

Summer Salt — Happy Camper (Epitaph Records)

Supersuckers — Suck It (Steamhammer)

Tahiti 80 — The Sunsh!ne Beat Vol.1 (Human Sounds)

Tiny Deaths — Magic (Handwritten Records)

Tor Miller — Surviving The Suburbs (Glassnote Records)

Transviolet — Valley EP (BMG)

Vessel Of Light — Woodshed (Argonauta Records)

Villagers — The Art Of Pretending To Swim (Domino Recording Company)

VOIVOD — The Wake (Century Media)

William Fitzsimmons — Mission Bell (Grönland Records)

Zula — New Years (Inflated Records)

Friday, September 28

79.5 — Predictions (Big Crown Records)

Against The Current — Past Lives (Fueled By Ramen)

Aizuri Quartet — Blueprinting (New Amsterdam Records)

Alexander Orange Drink (Alex Zarou Levine of So So Glos) — Babel On (Shea Stadium Records)

All Them Witches — ATW (New West Records)

alt-J — Reduxer (Infectious Music)

Amber Arcades — European Heartbreak (Heavenly)

Amy Ray — Holler (Compass Records)

Anti-Flag — American Reckoning (Spinefarm Records UK)

ATRAMENT — Scum Sect (Blood Harvest)

Bayside — Acoustic Volume 2 (Hopeless Records)

Beartooth — Disease (Red Bull Records)

The Black Lillies — Stranger To Me (Attack Monkey Productions)

The Black Queen — Infinite Games (The Black Queen)

BLOODTRUTH — Martyrium (Unique Leader Records)

Brother Reverend — The Tables Turn Too Often (self-released)

Cécile McLorin Salvant — The Window (Mack Avenue)

Cher — Dancing Queen (Warner Bros. Records)

The Crystal Method — The Trip Home (Tiny E Records)

Cypress Hill — Elephants On Acid (BMG)

Cumulus — Comfort World (Trans- Records)

Danielson — Snap Outtavit EP (Joyful Noise Recordings)

Deep Gold — Deep Gold (self-released)

Den-Mate — Loceke (Babe City Records)

Dillon Francis — Wut Wut (IDGAFOS)

DOE — Grow Into It (Big Scary Monsters)

Evilon — Leviathan (WormHoleDeath)

Exploded View — Obey (Sacred Bones Records)

Fat Tony — 10,000 Hours (Don Giovanni Records)

Four Seconds Ago (members of Periphery) — The Vacancy (Century Media Records)

Foxhole — Well Kept Thing (Burnt Toast Vinyl)

From The Bogs Of Aughiska — Mineral Bearing Veins (Apocalyptic Witchcraft Recordings)

Getter — Visceral (self-released)

GØGGS (featuring Ty Segall) — Pre Strike Sweep (In the Red)

Gouge Away — Burnt Sugar (Deathwish Inc.)

Hangman’s Chair — Banlieue Triste (Spinefarm Records UK)

Hater — Siesta (Fire Records)

Hippo Campus — Bambi (Transgressive)

Jay Som and Justus Proffit — Nothing’s Changed EP (Polyvinyl)

Jlin — Autobiography (Planet Mu)

John Butler Trio — Home (Nettwerk Records)

Jon Batiste — Hollywood Africans (Verve Records)

The Joy Formidable — AAARTH (Seradom)

Kojo Funds — Golden Boy (Atlantic Records)

Lala Lala — The Lamb (Sub Pop)

The Living End — Wunderbar (BMG)

Lucy Wainwright Roche — Little Beast (self-released)

Lydmor — I Told You I’d Tell Them Our Story (HFN Music)

Marissa Nadler — For My Crimes (Sacred Bones Records)

Mary-Elaine Jenkins — Hold Still (Good Child Music)

Mini Mansions — Works Every Time EP (Fiction Records)

Miss World — Keeping Up With Miss World (PNKSLM Recordings)

Mudhoney — Digital Garbage (Sub Pop)

NAVVI — Ultra (Hush Hush Records)

Onkel Tom — Bier Ernst (Steamhammer)

Ouri — We Share Our Blood EP (Ghostly International)

Palaye Royale — Boom Boom Room Side B (Sumerian Records)

Parquet Courts — Wide Awake! Remixes EP (Rough Trade)

People Museum — I Dreamt You In Technicolor (Girlie Action)

RALPH — A Good Girl (604 Records)

Restorations — LP5000 (Tiny Engines)

Rick And Morty Original Soundtrack (Sub Pop)

Rod Stewart — Blood Red Roses (Republic Records)

Roosevelt — Young Romance (City Slang)

Salopecia — Meanderthal (Hydra Head Records)

SCHAMMASCH — Contradiction (Prosthetic Records)

Seasick Steve — Can U Cook? (BMG)

Shigeto — Weighted EP (Ghostly)

Spain — Mandala Brush (Glitterhouse Records)

Spesh — Famous World (Killroom Records)

St. Lenox — Ten Fables Of Young Ambition And Passionate Love (Anyway)

Starset — Vessels 2.0 (Fearless Records)

Summer Salt — Happy Camper (Epitaph Records)

SUNFLO’ER — No Hell (Noise Salvation)

TAUK — Shapeshifter II: Outbreak (self-released)

Tilian Pearson (of Dance Gavin Dance) — The Skeptic (Rise Records)

Tim Cohen — The Modern World (Sinderlyn)

Tim Hecker — Konoyo (Kranky)

Tina Disco — Fastland (BMG)

Tom Petty — An American Treasure (Reprise Records)

Tommy And The Commies — Here Come… (Slovenly Recordings)

Tony Joe White — Bad Mouthin’ (Yep Roc Records)

Viagra Boys — Street Worms (YEAR0001)

VULCAIN — Vinyle (Season Of Mist)

VREID — Lifehunger (Season Of Mist)

Walking Dead On Broadway — Dead Era (Long Branch Records)

Wolfheart — Constellation Of The Black Light (Napalm Records)

Yumi Zouma — EP III (Cascine)

source https://uproxx.com/music/new-albums-coming-out-this-month-september-2018/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

Grimes Recorded the Theme Song for Netflix's New Animated Series 'Hilda': Listen

Hilda, a new animated Netflix show about the title character's through a magical land with bizarre creatures, debuted on Friday (Sept. 21).... source http://www.billboard.com/node/8476427

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

‘Sonic The Hedgehog’s Trailer Using A Classic Rap Song Has Sparked Plenty Of Reactions

The trailer for the warily-anticipated Sonic The Hedgehog live-action movie has arrived and while it’s quite something, fans are split on some of the choices the trailer makes, especially with regards to its musical selection. For some inscrutable reason, the trailer is scored by the Stevie Wonder-sampling strains of Coolio’s 1995 hit “Gangsta’s Paradise,” and the reactions have been mixed, to say the least.

For some, the use of the ’90s rap classic constitutes an egregious misstep on the part of the trailer’s editors. One fan called the decision to set the trailer’s action to “Gangsta’s Paradise” “inexplicable” and seemed pretty discontent with the whole thing all around.

I don't know if I want to start with the awful compositing or the % of this trailer that's devoted to a single unfunny joke or the inexplicable decision to set the entire trailer to a looping sample from Gangsta's Paradise by Coolio.https://t.co/lcwJckX4Ic

— Dan Olson (@FoldableHuman) April 30, 2019

For others, it’s an enticing reason to buy opening night tickets. Another fan joked: “I’m a simple man, add gangsters paradise by coolio to your movie trailer and I’ll see it opening night.”

I’m a simple man, add gangsters paradise by coolio to your movie trailer and I’ll see it opening night. Also, wtf did I just watch? pic.twitter.com/heePbQ5A8T

— Andrew Wink (@andrewwink) April 30, 2019

One more fan remembered the unlikely feud that the song once sparked between Coolio and humorist musician Weird Al Yankovic, who parodied “Gansta’s Paradise” as “Amish Paradise” due to the original’s immense success and cultural ubiquity on its release. Coolio, who had intended the song as a serious-minded commentary on street violence and the social conditions that spawn the street gang mentality, took the parody personally, saying Yankovic “desecrated the song.” Yankovic himself joked “I’m not sure how comfortable I am with them using a parody of ‘Amish Paradise’ in the Sonic the Hedgehog trailer.”

The sad irony in all this is Coolio hated Weird Al Yankovic’s parody of Gangsta’s Paradise for making light of a song he took very seriously. And here we are now..Listening to his song…in a really bad #SonicMovie pic.twitter.com/AptoE7ABxf

— Kate Robinson (@_thatmoviechick) April 30, 2019

I'm not sure how comfortable I am with them using a parody of "Amish Paradise" in the Sonic the Hedgehog trailer.

— Al Yankovic (@alyankovic) April 30, 2019

All in all, it seems plenty of folks have opinions about the trailer’s song choice, but Coolio himself has remained mysteriously silent on the subject. Maybe it’s like Weird Al noted on Behind The Music when the two were still feuding over “Amish Paradise” (they’ve since made amends and Coolio even says he likes it now) — Coolio didn’t have many complaints when he received the royalty check for his share of the splits.

Sonic the Hedgehog set to Amish Paradise: pic.twitter.com/kHWwgU7BYt

— Fandango (@Fandango) April 30, 2019

Perhaps Paramount Pictures made Coolio an offer he just couldn’t refuse. Besides, the trailer’s editor’s probably needed something to distract from Sonic’s creepy human teeth. Check out more of fans’ outraged, bemused, and baffled responses below.

Coolio: "So I wrote Gangsta's Paradise as a commentary on how gang life provides a false safe haven for minorities but also leads them into more misery due to often resulting in more turmoil."

Movie producers: "Sonic is going to go really fast to this because he's a gangsta."

— Ehsan @ Texas Showdown (@EhsanDTT) April 30, 2019

Um, Coolio’s Gangsta’s Paradise?

I was hoping for Warren G’s Regulate, but let’s not get crazy.

pic.twitter.com/RBQyvstwso#SonicMovie #sonic #SonicTheHedgehog #TuesdayThoughts

— Sesquipedalian (@Sir_H_Caulfield) April 30, 2019

And Why The Fuck did they use Coolio's Gangsta's Paradise for this? IT'S A FRANCHISE ABOUT SPEED and they chose reeeeeeely slow Gangsta Rap for the trailer! To quote AVGN, "WHAT WERE THEY THINKING?" pic.twitter.com/9DxKT8cjTY

— ERod

(@ERodBuster1) April 30, 2019

Remember when Coolio got mad at Weird Al because he said Gangsta’s Paradise was “too serious” and he was “desecrating” it by parodying it?

Funny how some licensing $ changes that.https://t.co/qPlhNrRF7H

— Colin Weir (@radiocolin) April 30, 2019

Finally Coolio's vision has been realized

— Frank Cifaldi the Last (@frankcifaldi) April 30, 2019

MOTHER: The MOVIE, coming to theaters 2019

THE CAST:

MICHAEL CERA as NINTEN KRISTEN SCHAAL as ANA JAMES ROLFE as LLOYD DWAYNE "The Rock" JOHNSON as TEDDY ARIANA GRANDE as PIPPI JIM CARREY as GIYGAS

Featuring "Gangsta's Paradise" by Coolio as the trailer music

— Pat (@Patwhit01) April 30, 2019

Coolio seriously decided that approving the use of this song for this trailer was in his best interest.

— Hardwood Paroxysm (@HPbasketball) April 30, 2019

The Sonic trailer makes the mistake of playing Coolio's "Gangsta's Paradise" and neglecting the origin of his sample, Stevie Wonder's "Pastime Paradise"… which would have been a nice critique of selling a movie that markets nostalgia. Opening lyrics: pic.twitter.com/bsbM7xTX75

— Nick Garcia (@foothands) April 30, 2019

everyone wants to focus on negativity like sonic looking like a wild dirt freak and jim carrey being arguably TOO funny but i want to focus on coolio being able to add guac on all his chipotle for the next few years tbh

— Art Vandalobos (@RamonVillalobos) April 30, 2019

god that fucking sonic trailer has been an atomic bomb of various word associations for my adhd ass brain to disappear down on. right now it's at "hey, coolio's cookbook is actually pretty legit" pic.twitter.com/dFLgT2Cxnj

— Colin Spacetwinks (@spacetwinks) April 30, 2019

source https://uproxx.com/hiphop/sonic-the-hedgehog-trailer-coolio-fan-reactions/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

Kyle And Lil Yachty Go From Ashy To Classy In Their Playful ‘Hey Julie’ Video

Welcome back, Yachty. Kyle and Lil Yachty are two of rap’s most renowned hitmakers but for some reason, their respective solo efforts last year went overlooked, even though Kyle’s Light Of Mine was excellent and Yachty’s two projects, Lil Boat 2 and Nuthin’ 2 Prove, went a long way toward proving to haters that he could get bars off with the best. However, their shining moment was when they linked up for 2017’s Nickelodeon-themed iSpy video, so it’s only natural that they returned to a working formula for the infectious “Hey Julie” late last year. Of course, it wouldn’t be an event if it didn’t come along with another humorously bouncy video, so here it is and it doesn’t disappoint.

Sooooo I just dropped this with @WORLDSTAR directed by the talented @whylonewolf starring the man himself @lilyachty to tide y’all over while i’m gone making this album

#HeyJulie VIDEO OUT NOW

https://t.co/W3gc6WJsaA pic.twitter.com/88nzbcn9Pl

— LIGHT OF MINE (@SuperDuperKyle) April 4, 2019

In an unusual move for Kyle, the video was released through WorldStarHipHop, which is generally better known for the exact opposite kind of music he makes. You know, “choppers in the trunk with ki of coke” type songs. However, it may prove to be an effective strategy, as it puts his jubilant personality and engaging charm in front of a new audience who might just be impressed by his revamped flow and the lighthearted humor of watching Kyle and Lil Boat lament their loser status before glowing up to partying with models — and breaking up catfights — in an inflatable pool while showing off their newfound wealth. They even joke around being exactly the kinds of rappers to whom gun talk seems just about as foreign as the sports cars they now drive. Check it out and stay tuned for Kyle’s follow-up album, which he promises is coming soon.

source https://uproxx.com/hiphop/kyle-lil-yachty-hey-julie-video/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

[213hiphopworldnews]

Nick Cannon Vows ‘Responsibility’ To Finish Nipsey Hussle’s Dr. Sebi Documentary

View this post on Instagram

And the Lord said, “Job well done my son..” @nipseyhussle King this is how I want to remember you! Laughing! Smiling! I ain’t slept yet, thinking about our conversations! Real ones from a real one! And I’m gonna say this only for the real ones to recognize. Where you left off, we gonna carry one! It’s a MARATHON, so I’m picking up the baton! Because they can’t kill us all! Spiritual Warfare is REAL and in full effect. And now your Spirit is protecting your community eternally! Your words, your steps, your walk always was and always will be SOLID! Now, Your message is my message! Your work is my work! I know you still rocking with us and your voice will never be silenced, because to be absent from the body is to be present with the Most High! So now that you are at Peace don’t Rest… Keep leading… Keep Shining King! Cosmic Love My Brotha!

A post shared by NICK CANNON (@nickcannon) on Apr 1, 2019 at 4:50am PDT

Los Angeles hip-hop icon Nipsey Hussle was gunned down yesterday in front of his South Central clothing store Marathon. Many rappers took to social media to grieve and show signs of support but Nick Cannon took it in a different direction vowing to continue Nipsey’s work on producing a documentary that highlights a potential cure for aids.

“Where you left off, we gonna carry one! It’s a MARATHON, so I’m picking up the baton!” posted Cannon. “Because they can’t kill us all! Spiritual Warfare is REAL and in full effect. And now your Spirit is protecting your community eternally! Your words, your steps, your walk always was and always will be SOLID! Now, Your message is my message! Your work is my work! I know you still rocking with us and your voice will never be silenced, because to be absent from the body is to be present with the Most High!”

The documentary is diving into the work of the late Dr. Sebi, a Honduran herbalist and spiritualist who claimed to find a cure for Aids. Aids have been a major killer in many lower socio-economic neighborhoods and Nipsey, affectionately known as Neighborhood Nip, took a special obligation to helping out his own community. His store, Marathon, employed locals and it was common to meet individuals from his city who were affected by being given jobs and other chances to better their lives from Nipsey.

Other rappers such as The Game have also mentioned about the work Nipsey did on the documentary and how he was reached out to about it. The two were very close friends dating back to when Nipsey was just another rapper on Crenshaw and Slauson and The Game was still known as Chuck around the hood.

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Rolled down my window 12 years ago on Crenshaw & Slauson as you handed me your demo & said “Chuck, don’t frisbee my shit homie… give a young nigga a ear”. From that day to letting you open up for me on tour & us going around the world together, creating a bond & watching your growth to today…… Murdered my friend in front of his own store on a Sunday at that !!! After just talking to you on the phone just last night about the Dr. Sebi documentary, family, the kids & how we were both bout to f&$k the summer up with this music, the world loses a true king. A man that was truly about everything he spoke & stood up for all that he believed in. I keep seeing your name in these headlines bro, but it seems unreal to me…. like, I just cannot believe you gone !!!! I love you….. I’m really broken & saddened by the fact they did this to you SMMFH !!!!! I can only imagine what your family is going through right now… This was not how your life on earth was supposed to end !!!!!!!! They don’t even make friends like you no more…… @nipseyhussle

& in LA, at his own store ?!?!? A store & business he put there for his people ?!?!? Los Angeles, how we let this happen ?!?!?!?!? I’m ashamed of you right now !!!!! Can’t even live out ya whole life in this city no more… this shit right here is just krazy to me !!!!!!!!!!!! #RestInPeaceNip can’t even fuckin believe it’s actually your name attached to all these REST IN PEACE posts !!!!! SMFH

A post shared by The Game (@losangelesconfidential) on Mar 31, 2019 at 6:30pm PDT

source https://uproxx.com/hiphop/nick-cannon-nipsey-hussle-dr-sebi-documentary/

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